NewsRelease
“Danceisthehiddenlanguageofthesoulofthebody”–MarthaGraham
MarthaGrahamandAmericanMusic
AprogramcuratedespeciallyforValleyPerformingArtsCenter
MarthaGrahamDanceCompany
wildUpChristopherRountree,Conductor
DiversionofAngels,DelloJoio(1948)
CaveoftheHeart,Barber(1946)
DarkMeadow,Chavez(1946)
MapleLeafRag,Joplin(1990)
PlusacommunityperformanceofGraham’sPanorama(1935)openstheshow
Saturday,May13at8pm
(LosAngeles,CA)March23,2017-ValleyPerformingArtsCenterwillpresentMarthaGrahamand
AmericanMusic,aprogramcuratedespeciallyforValleyPerformingArtsCenter,performedbytheMartha
GrahamDanceCompanyandwildUp,theclassicalmusicensemble,conductedbyitsartisticdirector
ChristopherRountree.MarthaGrahamDanceCompanyreturnstoVPACafterasold-outperformancein
2015.
Thisrare,one-night-onlyperformanceonSaturday,May13,drawsattentiontoanimportantofaspectof
MarthaGraham’suniquecontributionstoAmericanculture.Duringhercareer,shecommissionedmany
majororchestralandchambermusicworks,byAmericancomposers,toaccompanypiecesofMartha
GrahamDanceCompany’srepertoire.
TheprogramincludesDiversionofAngels(1948)withmusicbyNormanDelloJojoandcostumesbyMartha
Graham;CaveoftheHeart(1946)withscorebySamuelBarber,setbyIsamuNoguchi,andcostumesby
EdytheGilfond;andDarkMeadow(1946)tomusicbyCarlosChavezwithsetbyMr.Noguchiandcostumes
byMs.Gilfond.
Graham’sfinalballetMapleLeafRag(1990)tomusicofScottJoplin,withcostumesbyCalvinKlein
completestheprogram.
TheprogramwillalsoincludeMarthaGraham’sclassic,Panorama,firstperformedattheBenningtonSchool
ofDancein1935.PanoramausesnumbersandgeometricdesigntodrivehomeGraham’sintensesociopoliticalthemes,withascorebyNormanLloyd.InthespiritofthePanoramapremieringataschoolof
dance,VPACisbringingtogetherCSUN,CSUNAlumni,selecthighschool,andothercommunitydancersto
performthe10-minutepiecethatwillopentheperformanceMarthaGrahamandAmericanMusicon
VPAC’sGreatHallstage.ThiscollaborationbetweenavisitingdancecompanyandtheCSUNcommunity,
resultinginamainstageperformance,willbethefirstofitskindatVPAC.
ThorSteingraber,ExecutiveDirectorofVPACsaid,“WhenIspokewithJanetEilber,ArtisticDirectorof
MarthaGrahamDanceCompany,shehadalwaysdreamedofdoingaprogramwiththeimportantpiecesof
AmericanmusicMarthaGrahamhascommissioned.Thisnotonlygaveustheopportunitytohighlight
Graham’ssignificantroleinMidCenturyAmericanmusicanddance,buttoalsoaddthefreshperspectiveto
theperformancebythecompanyandtobeabletoincludeconductorChristopherRountreeandhis
explosivechamberensemble,wildUp.ChrisrecentlyconductedwildUpinanincrediblymemorable
programcelebratingJohnAdams’70thhereatVPAC.”
Steingrabercontinues,“PairingdanceandlivemusicwasthenorminGraham’stimeandhowsheconceived
herwork.Notonlydoeslivemusicprovideaudienceswithamorevisceralexperience,itgivesthedancers
anairofspontaneitythatdoesn’texistwithrecordedmusic.Wearesoexcitedforthiseveningaswe’ve
beenworkingwithMarthaGrahamDanceandChristopherRountreeandwildUpfortwoyearstomakeit
happen.”
MarkSwedintheLosAngelesTimeswroteofthatconcert,“Rountreehappenstobeaverywound-up
conductor,andtheintensityofthemusiciansprovedincrediblyvisceral,makingeverythingthatwasplayed
feelfreshandimmediate.”
ChristopherRountreeconductedVPAC’sfirstlivemusicanddanceeveningin2015withDIAVOLO–
ArchitectureinMotionandNewWestSymphony.
JanetEilber,ArtisticDirectorofMarthaGrahamDanceCompanyexplainsthegenesisofthecompany,
“MarthaGrahamwaspartofamovementinalltheartformstofindourcountry’sownvoice.Shetook
America’sFrontierismandcreatedanewforcefulstyleofdancethatwassoinfluentialthataroundthe
worldtoday,directorsandchoreographers,eveniftheydon’tknowit,havebuiltupontechniquesthat
MarthaGrahampioneered.”
Eilbercontinues,“Hermovementisverypercussive,geometric.Shewasalsointerestedinsculptingthe
space.Thiswaspartofherrevolutiontonotjustdanceonanemptystage.Thesetswouldcreatepathways
andlevelstoenhancetheemotionallanguageofherwork.Threeoftheworksperformedonthisprogram
arefrom1946to1948,showingusasnapshotofthattimeinherchoreographiccareer;thefourthwork
MapleLeafRag,washerfinalone.”
AnnaKisselgoffinTheNewYorkTimessaid,“Graham'sdancesarechieflydancesofimmediateimpact.
[MapleLeafRagis]arollickingromp…itembodiesthequestthathascoloredeveryGrahamwork-the
searchtouniteemotionandform.HencethesignaturesthatmakesitrecognizablyGraham-the
inevitabilityoftherightgestureandalsothepowertocomeupwiththeunexpected.”
Kisselgoffagainwrote,“WhatisDarkMeadow?PerhapsonlystudentsofCarlJunglikeMissGrahamcan
providetheanswertothespecificsinthesymbolismthatshecreatedwhileengrossedinJung…[while]the
actioncanbesummedupschematicallysuchanoutlinecannotbegintodojusticetotherichnessofthe
choreographyandthedisturbingwayinwhichMissGrahamsoeffectivelytouchesattherootofeveryone's
experience.”
KisselgoffsaidthatDiversionofAngelsis“MarthaGraham'scelebratedandluminousodetolove.”Frances
Herridge,writingfortheNewYorkStar(August17,1948)saidthework"Isanappropriatecurtainraisertoa
weekofmoderndance…essentiallyitisanexhibitionpieceforhergroup.Assuchitissuperb."
JenniferDunninginTheNewYorkTimeswrote,''CaveoftheHearttakesGreeklegendsasapretextforits
explicationofthefemaleheart.SettoanurgentscorebySamuelBarber,CaveoftheHeartpresentsthe
sorceressMedeaatatimewhen,abandonedbyherlover,Jason,forayoungprincess,shemurdersthechild
andreturnstoherfather,theSun.Theballet'scostumesandsetbyIsamuNoguchiareknockouts,insheer
visualtermsaswellasfortheirclearpurveyanceofsymboliccontent.”
MarthaGrahamandAmericanMusicissponsoredbyElizabethPurcellandissupported,inpart,byan
awardfromtheNationalEndowmentfortheArts.
AbouttheRepertoire
Panorama(1935)
Music:NormanLloyd
Panoramaisdividedintothreeparts,"ThemeofDedication,""ImperialTheme,"and"PopularTheme."
MobilesforthisworkweredesignedbyAlexanderCalderandthesetwascreatedbyArchLauterer.
PanoramapremieredonAugust14,1935,inBennington,Vermont.TheworkwasdancedbyMartha
GrahamandGroup,withstudentdancers.
DiversionofAngels(1948)
Music:NormanDelloJoio
Costumes:MarthaGraham
DiversionofAngelsisalyricdanceaboutthelovelinessofyouth,thepleasureandplayfulness,quickjoyand
quicksadnessofbeinginloveforthefirsttime.
DiversionofAngels,originallycalledWildernessStair:DiversionofAngels,premieredonAugust13,1948,at
ConnecticutCollege,NewLondon.
MarthaGrahamexplains,“DiversionofAngelswasdonetobringouttwothings:theloveofliveandthelove
oflove.It’sthemeetingandparting,forthefirsttime–thegirlinthewhite,thegirlinred,thegirlin
yellow.Theyaredifferentaspectsofawoman,ofagirl,oftheexperiences,theexcitements,thesorrows,
thetendernessoflove.”
CaveoftheHeart(1946)
Score:SamuelBarber
Set:IsamuNoguchi
Costumes:EdytheGilfond
CaveoftheHeartisashatteringstudyofthedestructivepowerofloveinspiredbythestoryofMedea.
CaveoftheHeartpremieredonMay10,1946,atColumbiaUniversity'sMcMillinTheater,NewYorkCity.
OriginallycalledSerpentHeart,theworkwasrevisedin1947asCaveoftheHeart.Theoriginalcastlist
includedGraham,ErickHawkins,Yuriko,MayO'Donnell,andothermembersoftheMarthaGrahamDance
Company.HarrietJohnson,writingfortheNewYorkPost(May11,1946)said,"SerpentHeartshouldbe
seenmanytimesbeforeitcanbetrulyabsorbedasaworkofart."
MarthaGrahamexplains,“CaveoftheHeartisadancethatcomesoutofthepast,inmorethanoneway.
It’sthelegendofthesorceress.It’sthemythofawomanwhoisobsessedandmaddenedbylove.WhenI
diditinAsiaforthefirsttime,IrememberinBurma,theydidn’tunderstandwhatMedeawas.Butthey
understoodexactlywhatImeantbyit.Thegloryofevilandthepassionofjealousyisthere.”
CriticJohnMartin,writingfortheNewYorkTimes(January27,1946),noted,"DarkMeadowisacurious
work,indeed,whichatfirstprettythoroughlydefiescomprehension.Anhourorsolater,however,it
suddenlybeginstoassumeforminthememory,totakeoncohesivenessanddirection,andtosendme
hurryingbackforasecondviewbywayofconfirmation.
DarkMeadow(1946)
Music:CarlosChavez
Set:IsamuNoguchi
Costumes:EdytheGilfond
OneofGraham’smostpsychologicalandabstractworks,andnotedforitsextraordinarilypoignantand
intricateworkforthedancedchorus.
DarkMeadowpremieredonJanuary23,1946,atNewYork'sPlymouthTheater.Thework,commissionedby
theElizabethSpragueCoolidgeFoundationoftheLibraryofCongress,originallywastopremierealong
withAppalachianSpringin1944;however,Chávezwasunabletodeliverthescoreintimeforthe
performance.ThecastlistincludedMarthaGraham,MayO'Donnell,ErickHawkins,andothermembersof
theMarthaGrahamDanceCompany.CriticJohnMartin,writingfortheNewYorkTimes(January27,1946),
noted,"DarkMeadowisacuriouswork,indeed,whichatfirstprettythoroughlydefiescomprehension.An
hourorsolater,however,itsuddenlybeginstoassumeforminthememory,totakeoncohesivenessand
direction,andtosendmehurryingbackforasecondviewbywayofconfirmation."
MapleLeafRag(1990)
Music:ScottJoplin
Set:AmericanFolkArt
Costumes:CalvinKlein
Aninstantaudiencefavoriteandahumorousandlovingtributetothechoreographicmuseandthe
musicofGraham’syouth.
MapleLeafRaghaditspremiereattheCityCenterin1990.CriticAnnaKisselgoff,writingfortheTheNew
YorkTimes(October4,1990)said,“Thenewpieceisanentertainingpokebyageniusatherownclichés,
terselyandwittilystated.Yetitsdelightfulself-parodyremainswithintheGrahamcanon–usingformfor
maximumexpressiveness.MissGrahamasaconjurorhasrarelycomeupwithamoresurprisingbagof
tricks.Themostunexpectedistheset,ajogglingboardfromCharleston,S.C.Thisnarrowboard,stretched
betweenpostsmountedontworockers,becomesadynamicsecondstageforthedancers.”
AboutMarthaGrahamDanceCompany
MarthaGrahamandherCompanyhaveexpandedcontemporarydance’svocabularyofmovementand
foreveralteredthescopeoftheartformbyrootingworksincontemporarysocial,political,psychological,
andsexualcontexts,deepeningtheirimpactandresonance.
Alwaysafertilegroundforexperimentation,MarthaGrahamDanceCompanyhasbeenanunparalleled
resourceinnurturingmanyoftheleadingchoreographersanddancersofthe20thand21stcenturies,
includingMerceCunningham,ErickHawkins,PearlLang,PascalRioult,andPaulTaylor.Graham’srepertoire
of181workshasalsoengagednotedperformerssuchasMikhailBaryshnikov,ClaireBloom,Margot
Fonteyn,LizaMinnelli,RudolfNureyev,MayaPlisetskaya,andKathleenTurner.Hergroundbreaking
techniquesandunmistakablestylehaveearnedtheCompanyacclaimfromaudiencesinmorethan50
countriesthroughoutNorthandSouthAmerica,Europe,Africa,Asia,andtheMiddleEast.
Today,theCompanycontinuestofosterGraham’sspiritofingenuity.Itisembracinganewprogramming
visionthatshowcasesmasterpiecesbyGrahamalongsidenewlycommissionedworksbycontemporary
artistsinspiredbyGraham’slegacy.Withprogramsthatunitetheworkofchoreographersacrosstimewithin
arichhistoricalandthematicnarrative,theCompanyisactivelyworkingtocreatenewplatformsfor
contemporarydanceandmultiplepointsofaccessforaudiences.
MarthaGrahamDanceCompany’srepertoryincludesGrahammasterpiecesAppalachianSpring,
Lamentation,CaveoftheHeart,DeathsandEntrances,andChronicle,amongotherworks.TheCompany
continuestoexpanditsmissiontopresenttheworkofitsfounderandhercontemporaries,andremainsa
leaderbycatalyzingnewworkswithcommissionsthatbringfreshperspectivestodanceclassics,such
asAmericanDocument(2010)andLamentationVariations(2009).MultimediaprogramslikeDanceisa
Weapon(2010),amontageofseveralworksconnectedthroughtextandmedia,redefinetheboundariesof
contemporarydancecomposition.
AboutMarthaGraham(5/11/1894–4/1/1991)
MarthaGraham’screativitycrossedartisticboundariesandembracedeveryartisticgenre.Shecollaborated
withandcommissionedworkfromtheleadingvisualartists,musicians,anddesignersofherday,including
sculptorIsamuNoguchiandfashiondesignersHalston,DonnaKaran,andCalvinKlein,aswellascomposers
AaronCopland,SamuelBarber,WilliamSchuman,NormanDelloJoio,andGianCarloMenotti.
InfluencinggenerationsofchoreographersanddancersincludingMerceCunningham,PaulTaylor,andTwyla
Tharp,Grahamforeveralteredthescopeofdance.ClassicalballetdancersMargotFonteyn,RudolfNureyev,
andMikhailBaryshnikovsoughtherouttobroadentheirartistry,andartistsofallgenreswereeagerto
studyandworkwithGraham—shetaughtactorsincludingBetteDavis,KirkDouglas,Madonna,LizaMinelli,
GregoryPeck,TonyRandall,EliWallach,AnneJackson,andJoanneWoodwardtoutilizetheirbodiesas
expressiveinstruments.
Graham’sgroundbreakingstylegrewfromherexperimentationwiththeelementalmovementsof
contractionandrelease.Byfocusingonthebasicactivitiesofthehumanform,sheenlivenedthebodywith
raw,electricemotion.Thesharp,angular,anddirectmovementsofhertechniquewereadramatic
departurefromthepredominantstyleofthetime.
WithanartisticpracticedeeplyingrainedintherhythmofAmericanlifeandthestrugglesoftheindividual,
GrahambroughtadistinctlyAmericansensibilitytoeverythemesheexplored.“Adancerevealsthespiritof
thecountryinwhichittakesroot.Nosoonerdoesitfailtodothisthanitlosesitsintegrityandsignificance,”
shewroteinthe1937essayAPlatformfortheAmericanDance.
Consistentlyinfusedwithsocial,political,psychological,andsexualthemes,Graham’schoreographyis
timeless,connectingwithaudiencespastandpresent.WorkssuchasRevolt(1927),Immigrant:Steerage,
Strike(1928),andChronicle(1936)—createdthesameyearsheturneddownHitler’sinvitationtoperformat
theInternationalArtsFestivalorganizedinconjunctionwiththeOlympicGamesinBerlin—personify
Graham’scommitmenttoaddressingchallengingcontemporaryissuesanddistinguishherasaconscientious
andpoliticallypowerfulartist.
MarthaGrahamremainedastrongadvocateoftheindividualthroughouthercareer,creatingworkssuch
asDeathsandEntrances(1943),AppalachianSpring(1944),DarkMeadow(1946),andErrandintothe
Maze(1947)toexplorehumanandsocietalcomplexities.Theinnovativechoreographyandvisualimagery
ofAmericanDocument(1938)exemplifiedGraham’sgenius.Thedramaticnarrative,whichincludedthe
Company’sfirstmaledancer,exploredtheconceptofwhatitmeanstobeAmerican.Throughthe
representationofimportantAmericanculturalgroupssuchasNativeAmericans,African-Americans,and
PuritansandtheintegrationoftextfromhistoricalAmericandocuments,Grahamwasabletocapturethe
souloftheAmericanpeople.
Duringherlongandillustriouscareer,Grahamcreated181masterpiecedancecompositions,whichcontinue
tochallengeandinspiregenerationsofperformersandaudiences.In1986,shewasgiventheLocalOne
CentennialAwardfordancebyhertheatercolleagues,awardedonlyonceevery100years,andduringthe
BicentennialshewasgrantedtheUnitedStates’highestcivilianhonor,TheMedalofFreedom.In1998,TIME
Magazinenamedherthe“DanceroftheCentury.”ThefirstdancertoperformattheWhiteHouseandtoact
asaculturalambassadorabroad,shecapturedthespiritofanationandexpandedtheboundariesof
contemporarydance.“Ihavespentallmylifewithdanceandbeingadancer,”shesaid.“It’spermittinglife
touseyouinaveryintenseway.Sometimesitisnotpleasant.Sometimesitisfearful.Butneverthelessitis
inevitable.”
AboutChristopherRountree(ArtisticDirector/Conductor,wildUp)
WeseeLadyMacbethinadozencrooningsilhouetteswashingbloodoutofragsinabathroom;Stravinsky
pouringoutofanabandonedwarehouse;aviolinistcuttinghimselfoutofducttapewitharazorashisviolin
sitsgatheringfeedback;andalostJohnAdamssuiteatWaltDisneyConcertHall.Conductorandcomposer
ChristopherRountreeisstandingattheintersectionofclassicalmusic,newmusic,performanceartandpop.
Rountree,32,isthefounder,conductorandcreativedirectorofthepathbreakingL.A.chamberorchestra
wildUp.Thegrouphasbeencalled“Searing.Penetrating.AndThrilling”byNPR’sPerformanceTodayand
named“BestClassicalMusicof2015”bytheNewYorkTimes.wildUpstartedin2010withnofundingand
nomusicians,drivenonlybyRountree’svisionofaworld-classorchestrathatcreatesvisceral,provocative
experiencesthatareunmooredfromclassicaltraditions.
Whetherhe’sconducting,composingorcuratingaprogram,Rountree’sapproach–withits“infectious
enthusiasm”(LosAngelesTimes)and“elegantclarity”(NewYorkTimes)–isunitedbyextremelyhighenergy
andadeeplyengagedrelationshipbetweenascore,musiciansandaudience.
“Formostpeople,programmingandconductingareaboutrestraint,intellect.Iwanttogetridofrestraint:I
wanttotearthething’sgutsout.Iwanttogoallthewaythere,”Rountreesays.“Iwanttoempower
musicians.Iwanttoenergizeanaudience.It’snotthatI’ma‘conduitforthescore’–everyoneinthehallisa
partofacircuitthatconnectstheconductor,themusicians,thescoreandthelisteners.Aconcertshouldn’t
leavepeoplewhenpeopleleavetheconcerthall.”
Ifthereisadamseparatingestablishmentclassicalmusicfrommoreadventurousforms,Rountreefinds
himselfspillingoverbothsides–conductingOperaOmahahere,andwritinganexperimentaltheaterwork
for12singerssingingHaydnbackwardsinthePhiladelphiaMuseumofArtthere.
Thisyear,RountreemakeshisChicagoSymphony,LAOperaandAtlantaOperadebuts,returnstotheMusic
AcademyoftheWestandtwicetotheSanFranciscoSymphony’sSoundBoxseries,conductstheInterlochen
WorldYouthOrchestraontheNewYorkPhilharmonic’s2016Biennial,joinsJenniferKohandShaiWosner
withwildUpattheLagunaBeachMusicFestival,andconductsDiavolo’snewshow“L’EspaceduTemps:
Glass,Adams,andSalonen.”Asacomposer,hisrecentpremieresandcommissionsincludeanewpiecefor
TheCrossingatthePhiladelphiaMuseumofArt,are-orchestrationofEsa-PekkaSalonen’sForeignBodies,a
choralworkforBjork’schoirGradualeNobiliinReykjavik,Iceland,andtwonewpiecesforJenniferKoh:a
shorttheaterpieceontheNewYorkPhilharmonic’sBiennial,andalarge-scaleconcertoco-commissionedby
theLosAngelesPhilharmonicforJennyandwildUp.
Lastyear,RountreefoundedaneducationintensivewiththeLosAngelesPhilharmonic,continuedan
educationpartnershipattheColburnSchool,andtaught“CreativityandConsciousness”atBardCollege’s
LongySchool.HejoinedtheproductioncompanyChromatic,conductedOperaOmahaperformingJohn
Adams’“AFloweringTree,”debutedontheSanFranciscoSymphony’sSoundBoxseries,andstartedathreeyearstintasguestconductoroftheLosAngelesChamberOrchestra.
Withhiseclecticstyleandresume,he’sbeentappedtocurateandcreateeventsforcontemporaryart
institutionsincludingtheGettyMuseum,MCADenver,thePhiladelphiaMuseumofArtandUCLA’sHammer
Museum,wherealong-runningwildUpresidencybroughtthegrouptonationalprominence.
Throughitall,Rountreeisguidedbyhisvisionofamoreengagingclassicalmusicculturethatblowsupthe
oldboxes.
“Idon’thaveenoughtattoostobethebadboyprovocateurofclassicalmusic,”Rountreejokes.“Butisthe
goaltodismantletheartformandbuildsomethingnew–somethingburstingwithlife,contemporary
relevance,anddeepmindfulness?Thatisexactlywhatwe’redoing.”
AboutwildUp
wildUphasbeencalled“Searing.Penetrating.Andthrilling”byFredChildofPerformanceTodayand
“Magnificent”byMarkSwedoftheLosAngelesTimes.Overthelastfiveyears,wildUphascollaborated
withorchestras,rockbandsandculturalinstitutionsaroundtheworld.
Thegroupbeganin2010asaself-funded,completelybootstrappedprojectofwildUp’sArtisticDirectorand
ConductorChristopherRountree:aftergraduateschool,RountreereturnedtoLosAngeleswantingtocreate
anensemblemadeupofyoungmusicians,agroupthatwouldrejectclassicalmusic’smostoutdated
traditionsandembraceunusualvenuesandprogramsthatthrowtheclassicalrepertoireintothecontextof
popculture,newmusicandperformanceart.Thegroup’sfirstfewconcertsatartstudiosandrockclubs
aroundL.A.createdaferventfan-baseoftruebelievers.ThenUCLA’sHammerMuseumtappedwildUpas
themuseum’sfirsteverEnsembleinResidence,andafterdozensofconcertsintheHammer’shalls,
courtyardsandgalleries,theL.A.Timesproclaimedthegroup“BestClassicalMusicof2012.”Itwasoffto
theraces,aswildUpbeganworkingwithmusicalandculturalinstitutionsaroundtheworld.
ThegrouphasbeenEnsembleinResidencewiththeLosAngelesChamberOrchestra,andplayednumerous
programswiththeLosAngelesPhilharmonicincludingthePhil’sBrooklynFestival,MinimalistJukebox
Festival,andNextonGrandFestival.TheystartedanongoingeducationpartnershipwiththeColburn
School,taughtCreativityandConsciousnessatBard’sLongySchool,ledcompositionclasseswiththe
AmericanComposersForumandAmericanComposersOrchestra,andfoundedandanintensiveeducational
programwiththeLAPhilharmonicinwhichtenyoungcomposersandafacultyofeightlegendary
composersmeettocollaborateonnewwork.
WhilethegroupispartofthefabricofclassicalmusicinL.A.,wildUpalsoembracesindiemusic
collaborations.ThegrouphasanalbumforthcomingonBedroomCommunityRecordswithBjork’schoir
GradualeNobili,vocalistJodieLandau,andproducerValgeirSigurðssonrecordedinReykjavik,Iceland;they
playedwithcomposerEllisLudwig-LeoneandrockbandSanFerminunderatyrannosaurusrexatthe
NaturalHistoryMuseumofLosAngeles;theyperformedMicaLeviofMicachuandtheShapes’scoreofthe
ScarlettJohanssonfilm“UndertheSkin”attheRegentTheaterindowntownL.A.;theypremieredand
recordedanoperabyLewisPesacovofafrobeatbandFool’sGoldabouttheendoftheMayanCalendar;and
theywillpremiereforthcomingworksbyDominoRecordsartistJuliaHolterandEricAveryofrockband
Jane’sAddiction.
Inthecurrentseason,wildUpwasEnsembleinResidencewithJenniferKohandShaiWosnerattheLaguna
BeachMusicFestival;theyembarkedontheirsecondlarge-scaleproductionwithdirectorJamesDarrahand
productioncompanyChromaticcalledFAILURE.;andthegrouppremieredafewdozennewworks,including
composerDavidLang’s“AnatomyTheater”attheLAOpera.InOctober,wildUpmadetheirNewYorkdebut
ontheAmericanComposersOrchestra’sSONiCfestivalwithanewprogramcalled“West.”
wildUphasbeenfeaturedatnumerousWestCoastculturalspacesincludingtheMusicAcademyofthe
West,SantaBarbaraArtsandLectures,theBroadStage,ZipperHallattheColburnSchool,REDCAT,Walt
DisneyConcertHall,BeyondBaroque,theArmoryCenterfortheArts,SantaAnaSitesandEchoPark’s
JensenRecCenter.TheirrecordingsofShostakovich,Rzewski,MessiaenandLosAngelescomposershave
beenfeaturedonKUSC,WNYC,Q2,KPFK,AlexRoss’sblogTheRestIsNoiseandAmericanPublicMedia’s
PerformanceToday,amongmanyothers.
CalendarListingforMarthaGrahamandAmericanMusic
Venue: ValleyPerformingArtsCenter
18111NordhoffStreet
Northridge,CA91330
Date: Saturday,May13at8pm
Tickets:
Startingat$28
PressContacts:TimChoy,NikiBlumberg,Davidson&ChoyPublicity
323-954-7510|[email protected];[email protected]
GaryW.Murphy,PublicRelationsConsultant
310-914-0178|[email protected]